ABSTRACT
The Ossianic craze from the latter part of the eighteenth century onward left a profound impact on European culture with far-reaching ramifications. The "discovery" of Ossian aroused an international curiosity, just as the excavations at Herculaneum and Pompeii had earlier in the century, when artifacts of Roman culture were uncovered. But the Ossianic awakening engendered a different response: Ossian came to be acknowledged as an alternative source for the Western classical tradition. Mendelssohn's first movement is framed by a slow introduction; its return at the close of the movement is similar to Gade's recall of the opening few bars in his overture. Mendelssohn was to have one more encounter with an Ossianic subject, the result of which was a setting for bass solo and orchestra of On Lena's Gloomy Heath. Mendelssohn could compose fugues in imitation of Bach or choral works in emulation of Handel, just as fervently as he could set down some exotic experiences in his Ossianic works.
